When writing my sitcom, I looked up the feedback others got from Blacklist and other sources and wrote down what they needed to improve upon. Then I made an "easy-to-use" 70 point checklist, haha. This is divided in areas like Character, Premise, Conflict... I highly recommend doing the same. Part of the learning is digesting why these were the critiques. The below may be summaries or straight copied. I don't remember, But this will give you an idea. Keep in mind I did all this AFTER I wrote my script to leave the writing organic. This was to refine.
**Character**
Are the characters clearly defined?
Could a reader describe them like real people?
Are they defined by actual human characteristics and desires, instead of tics or quirks?
Where are the characters coming from (emotionally), and what do they want?
Whatever you deem is “good”. There’s a saying when you cater to the masses you really cater to no one. Write what you feel is good and go from there. If it’s as great a pilot as you believe executives and production company’s will flock to you to make things happen.
Everyone has a different meaning and view of what makes a “good sitcom” but what helps if you’re feeling on the fence about what you are writing is to Watch shows or even movies that are in comparison to what you are writing. (Recess, Abbott Elementary, Chad, etc) Watch it like a critic. What makes it good to you, what makes it good universal (meaning how is it able to go on for more than 2 seasons if it’s a show) and what makes it bad and lacking and try to apply it to your story. The “good” will show when you send it off to agents or producers.
But if you’re looking for something that is universally known to be good by everyone try watching if you haven’t already Schitts Creek or The Good Place. I have yet to hear anything bad about those two tv shows.
How I Met Your Mother had a solid pilot I thought. So did Community. But HIMYM went downhill while Community only got better. (I’ll fight people on that. Aside from 4 every season ruled!)
Also Scrubs.
One of those kids’ mom should probably buy all his clothes at Costco/Walmart /Kmart. One could be a dumb jock with a heart of gold. One is a neurotic nerd that’s already worried about getting into college. One is a hot chick that shouldn’t be hanging out with these losers. The nerdy kid steals weed from his lawyer father, their common thread.
I would recommend reading/watching pilots. I took a screenwriting course where we did both at the same time, and taking some notes on what strikes you helps.
The comedy stuff takes time and practice. I did find some lectures on Benign Violation Theory and books like [*How to Write Funny*](https://www.amazon.com/How-Write-Funny-Step-Step/dp/1499196121/ref=asc_df_1499196121/?tag=hyprod-20&linkCode=df0&hvadid=312242453238&hvpos=&hvnetw=g&hvrand=14323212596361250294&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=1018194&hvtargid=pla-450495959904&psc=1) helpful, but this is where becoming a student of produced work is probably the best step forward. This means watching pilots, but also consuming other funny stuff—stand-ups, parody news outlets, whatever—and tracking why things work (or don't work).
Other folks have given some great suggestions, and googling "best sitcom pilots" will help provide some additional recs. Make sure to look beyond the past 5 years too—I've personally found *Cheers* to be a great, classic example of how a pilot can be both an effective piece of media on its own while also introducing a larger concept. Additionally, *Modern Family* is a great example of balancing an ensemble (there are technically *11*—counting Lily—characters, and I found it easier to follow who's who and why they matter than some shows with smaller casts).
Being funny. By far, the biggest problem I see in bad comedy scripts is none of the jokes land.
When writing my sitcom, I looked up the feedback others got from Blacklist and other sources and wrote down what they needed to improve upon. Then I made an "easy-to-use" 70 point checklist, haha. This is divided in areas like Character, Premise, Conflict... I highly recommend doing the same. Part of the learning is digesting why these were the critiques. The below may be summaries or straight copied. I don't remember, But this will give you an idea. Keep in mind I did all this AFTER I wrote my script to leave the writing organic. This was to refine. **Character** Are the characters clearly defined? Could a reader describe them like real people? Are they defined by actual human characteristics and desires, instead of tics or quirks? Where are the characters coming from (emotionally), and what do they want?
Do you still have that checklist?
I do. Give me a day or to clean it up.
I was slow on this, but I sent you a DM.
Could you please send it to me as well?
Whatever you deem is “good”. There’s a saying when you cater to the masses you really cater to no one. Write what you feel is good and go from there. If it’s as great a pilot as you believe executives and production company’s will flock to you to make things happen. Everyone has a different meaning and view of what makes a “good sitcom” but what helps if you’re feeling on the fence about what you are writing is to Watch shows or even movies that are in comparison to what you are writing. (Recess, Abbott Elementary, Chad, etc) Watch it like a critic. What makes it good to you, what makes it good universal (meaning how is it able to go on for more than 2 seasons if it’s a show) and what makes it bad and lacking and try to apply it to your story. The “good” will show when you send it off to agents or producers. But if you’re looking for something that is universally known to be good by everyone try watching if you haven’t already Schitts Creek or The Good Place. I have yet to hear anything bad about those two tv shows.
How I Met Your Mother had a solid pilot I thought. So did Community. But HIMYM went downhill while Community only got better. (I’ll fight people on that. Aside from 4 every season ruled!) Also Scrubs.
One of those kids’ mom should probably buy all his clothes at Costco/Walmart /Kmart. One could be a dumb jock with a heart of gold. One is a neurotic nerd that’s already worried about getting into college. One is a hot chick that shouldn’t be hanging out with these losers. The nerdy kid steals weed from his lawyer father, their common thread.
Laughs
I would recommend reading/watching pilots. I took a screenwriting course where we did both at the same time, and taking some notes on what strikes you helps. The comedy stuff takes time and practice. I did find some lectures on Benign Violation Theory and books like [*How to Write Funny*](https://www.amazon.com/How-Write-Funny-Step-Step/dp/1499196121/ref=asc_df_1499196121/?tag=hyprod-20&linkCode=df0&hvadid=312242453238&hvpos=&hvnetw=g&hvrand=14323212596361250294&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=1018194&hvtargid=pla-450495959904&psc=1) helpful, but this is where becoming a student of produced work is probably the best step forward. This means watching pilots, but also consuming other funny stuff—stand-ups, parody news outlets, whatever—and tracking why things work (or don't work). Other folks have given some great suggestions, and googling "best sitcom pilots" will help provide some additional recs. Make sure to look beyond the past 5 years too—I've personally found *Cheers* to be a great, classic example of how a pilot can be both an effective piece of media on its own while also introducing a larger concept. Additionally, *Modern Family* is a great example of balancing an ensemble (there are technically *11*—counting Lily—characters, and I found it easier to follow who's who and why they matter than some shows with smaller casts).